IT’S always good to see a show with the words ‘sold out’ plastered over its posters…it’s always even better to know that the sell out is justified and those who have invested their hard earned cash in a ticket, often before the paint is dry on the set, will not leave the theatre disappointed.

It doesn’t always happen this way, but thankfully in the case of AAODS’ production of Stephen Sondheim’s Sweeney Todd at Abergavenny’s Borough Theatre the investment in cash and time more than paid off.

Following last year’s production of The Hunchback of Notre Dame, which saw AAODS back on top form after a few years in the doldrums, was never going to be easy but it was clear from the opening notes of this challenging piece that the rejuvenated company was going to give it a damn good try…

Sweeney Todd is not a musical for the faint hearted either on stage or off. It is a hard sing, a hard act and a hard day at the office for a technical team - especially first time director Alys Le Moignan Williams and seasoned MD Sarah Fowler Pearson - but the ensemble working behind this production was more than up to the task and dragged out every moment of drama in this darkest of shows.

The tight ensemble worked well together to recreate the seedy underbelly of Victorian London from the overwhelming poverty of the streets and the horrors of life behind the closed doors of the insane asylum to the raucous immorality of the gentry with some almost faultless singing and acting.

As good as the ensemble work may be, any production of Sweeney Toddd lives and dies by its central characters and AAODS were not let down by their core players.

I was initially concerned that Patrick Callaghan would not find the switch from hero to villain an easy one…but my misgivings were soon allayed. Although there were moments when his voice lacked the dark tones needed to really flesh out Todd, his brooding intensity more than made up for this and he dominated his scenes in a way I’ve not seen him do before.

Likewise, Kelsea Williams an AAODS Junior alumna in her first principal role with the senior society after a few year away who carried so much of the action with her portrayal of Nellie Lovett.

Despite being several decades too young for the role - something which occasionally came over in her voice - she made the part her own with some on point performance which complemented her co-star’s playing perfectly.

Ben Hugh Tiley and Iris Cope made up the central quartet as Johannah and Anthony with equally strong playing.

Some great cameo performances by Joe Pugh, Dominic Jewell, Helena Williams, Joe Tuckett and Gwilym Rogers completed the principal cast.

Star orders of the evening for me, however must go to young Robert Lewis, who was both endearing and truly chilling as Tobias Ragg.

His deranged visage as the curtain fell on this impressive performance was one which will haunt the audience for many a dark night.